The Distinctively Dark Wide Lens Observational Order of Stanley Kubrick’s Style of Filmmaking

In another of their very insightful video essays, film and television analysis platform ScreenPrism took a look at the iconic films of Stanley Kubrick, noting the very distinct features of his wide lens observational style in which the complete order is struggling against wild scenery patterns, the repeated behavior of characters who don’t know they’re circling endlessly and the seeming finality of all humankind, which in the end offers a glimmer of hope.

Kubrick’s films do imply that there is meaning in things but we have to be prepared that it’s not the meaning we expect. The truth may be strange, dark and difficult to accept still if we push beyond our initial darkness and fear we may be able to find something worthwhile on the other side. Kubrick doesn’t soften his conclusions, he often leaves us in a very dark place. So hope is not to be found in the so called civilized society humankind has produced to date, but there may still be some hope at the end of a Kubrick film.